A figure whose movement is limited presents a specific compositional difficulty: the range of silhouettes available shrinks, and silhouette variety is what a series of images normally uses to stay interesting. A sequence of drawings of a restricted figure tends toward sameness unless something else is doing the work.
Recognising this as a design problem rather than a subject-matter one is what makes it solvable. The answers are ordinary compositional answers, applied deliberately because the usual ones are unavailable.
The second figure carries more
When one figure is limited, the other becomes the compositional variable. Her position, distance, height and orientation are what change between images, and planning the sequence around her movement rather than around the restricted figure is the straightforward solution.
That also serves the scene, since it keeps both characters active and prevents the framing failure described in the piece on drawing negotiated play, where one participant becomes an arrangement rather than a person.
Lines of restraint are compositional lines
Anything running across a figure creates strong directional lines, and those lines lead the eye whether or not they were placed to. Used deliberately they can direct attention toward a face or a point of contact; used carelessly they carve the figure into segments and fight the composition.
The practical approach is to treat them as you would any strong line: decide where they point, avoid tangents with the silhouette edge, and keep them from crossing the focal point unless that is the intention. The material behaviour that makes them convincing is covered in the piece on rendering leather and metal.
Camera does the varying
With the figure's pose fixed, distance and angle become the main tools for change. Moving between a wide view, a mid shot and a detail across a sequence provides variety without requiring the pose to alter, which is the shot-size discipline in the piece on panel rhythm.
Height variation matters too, and it should be used carefully here because high and low angles carry strong meanings about power. In this material those readings are stronger than usual and should be chosen rather than inherited.
Faces become the main variable
If the body cannot change much, expression is where the change happens, and that makes faces disproportionately important. Keeping them in frame and rendering them carefully is both a compositional necessity and what keeps the scene legible as something happening between two people.
This is the interiority problem from the piece on solo scenes arriving in a different form: with fewer channels available, the remaining ones have to carry more.
Negative space around a fixed figure
A figure that stays in one place makes the surrounding space more noticeable, and the shapes around her become a larger part of the composition than usual. Varying what occupies that space, the second figure, furniture, shadow, is an efficient way to keep successive images distinct.
Light is the cheapest variable of all here. Changing which parts of the space are lit alters the composition substantially without moving anything, and it also tracks time passing, which a static pose otherwise cannot show.
Continuity of arrangement
A restricted figure introduces a continuity burden that ordinary scenes do not have, because whatever is holding her in place must stay consistent across every panel unless somebody visibly changes it. Readers track this closely, and an arrangement that is subtly different from one image to the next reads as carelessness even when nothing else is wrong.
The economical answer is a small reference drawing made once, showing the arrangement clearly from two angles, and consulted rather than remembered. It takes ten minutes and it removes an entire category of error from a sequence that may run for twenty pages.
Keeping a sequence from going static
Plan the sequence around the mobile figure, treat restraint lines as directional design elements, vary camera distance deliberately, keep faces available, and use light to change the space. That is enough to carry a sequence that a fixed pose would otherwise flatten.
Characters here are fictional and unmistakably adult, both participants remain legible throughout, and coercion is not published, as set out in the reader agreement.